Vivitar Series 1 70-210mm F/3.5 VMC Macro

Telephoto zoom lens • Film era • Discontinued

VMC The multi-layer coating is applied to the surface of lens elements. It boosts light transmission, ensures sharp and high contrast images, minimizes ghosting and flares.
MACRO A lens with better close-up focusing capabilities in comparison with traditional lenses. Not a macro lens though.

Model history

Vivitar Series 1 70-210mm F/3.5 VMC MacroA14 - 101.2m⌀62 1981 
Vivitar Series 1 70-210mm F/3.5 MacroA15 - 102m⌀67 1973 

Features highlight

Constant F/3.5
VMC
Auto
MF
PUSH/PULL

Specification

Production details
Announced:1981
Production status:Discontinued
Production type:Mass production
Original name:Vivitar Series 1 70-210MM 1:3.5 MACRO FOCUSING ZOOM VMC
Optical design
Focal length range:70mm - 210mm
Speed range:F/3.5 across the focal length range
Maximum format:35mm full frame
Mount:Canon FD
Contax/Yashica
Konica AR
M42
Minolta SR
Nikon F
Olympus OM
Pentax K
Flange focal distance:42mm (Canon FD)
45.5mm (Contax/Yashica)
40.5mm (Konica AR)
45.5mm (M42)
43.5mm (Minolta SR)
46.5mm (Nikon F)
46mm (Olympus OM)
45.5mm (Pentax K)
Diagonal angle of view:34.3° @ 70mm - 11.8° @ 210mm (35mm full frame)
22.8° @ 70mm - 7.7° @ 210mm (Nikon F APS-C)
22.8° @ 70mm - 7.7° @ 210mm (Pentax K APS-C)
Lens construction:14 elements - 10 groups
Diaphragm mechanism
Diaphragm type:Automatic
Number of blades:6
Zooming
Zoom type:Push/pull
Zooming method:<No information>
Focusing
Closest focusing distance:1.2m
Maximum magnification ratio:1:4 @ 210mm at the closest focusing distance
Focusing method:<No information>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics
Weight:710g (mount not specified)
Maximum diameter x Length:⌀69.5×140mm (mount not specified)
Accessories
Filters:Screw-type 62mm
Lens hood:<No information>

*) Sources of data: Manufacturer's technical data ● Vivitar lenses booklet (September 1982) ● Vivitar lenses booklet (1983).

**) Some basic information is missing in the specification as it was not provided by the manufacturer.

Manufacturer description

Vivitar's new Series 1 70-210mm f3.5 continuous macro-focusing zoom lens. The next generation.

The Series 1 70-210mm lens story really must be told in two parts: the old and the new.

When the Series 1 70-210mm first appeared a decade ago (*), it radically changed the world's perception of zoom lenses. Suddenly, there was a zoom lens with the resolution characteristics of a fine fixed focal length lens. This was made possible by using a unique and proprietary computer optimization program.

(*) from Vivitar's 9/1982 brochure.

The result? Macro capability, one-touch control and an extremely fast f3.5 maximum aperture.

Almost from the beginning, the old 70-210mm became the standard of the industry.

But we wanted more. We wanted a lens that would do everything the old lens did yet be lighter, smaller, with even more features and demonstrably superior performance.

It was a mind boggling challenge. Vivitar's experts quickly agreed that the original lens couldn't be improved upon with small design niceties. The task called for a total reworking of the lens, requiring an extremely sophisticated computer program to deal with the multitude of variables.

Based upon Vivitar's pioneering work on continuous-focusing Series 1 zoom lenses, the optical design team made an astounding discovery: front group focusing could be extended to include the macro range if the appropriate design configuration were found.

The individual design and exact positioning of each element was an incredible orchestration. Finally, the new arrangement of 14 elements in 10 groups was discovered. The new Vivitar Series 1 70-210mm continuous macro-focusing lens, unlike conventional zooms, allows you to zoom within the macro range, thus giving you greater compositional control. Also, the minimum working distance is approximately three times longer than non-continuous macro-focusing telephoto zooms for convenient lighting and greater ease in tracking small moving objects.

In addition to the new optical design with its benefits, an improved mechanical design offers several positive results as well. One of these is the additional stability of element centration which contributes to superior image quality. The innovative mechanical buffer system minimizes internal reflections, again resulting in superior image quality by improving resolution and contrast.

But not everything changed. The Vivitar Series 1 70-210mm still has the fastest maximum aperture of any one-touch zoom in its focal range: f3.5. There's still a dual support mechanism to ensure proper lens centration. And multi-start helical threads, and zooming cams milled to a tolerance of less than 2/100th of a millimeter for smooth zooming and focusing.

There you have it, the only zoom that could make you forget the old Series 1 70-210mm.

The new Series 1 70-210mm by Vivitar.

The Vivitar Series 1 70-210mm lens is manufactured to fit precisely most popular 35mm SLR cameras including Nikon, Canon, Minolta, Olympus, Pentax, Konica and Yashica/Contax.

From the editor

Made by Tokina.

Typical application

distant subjects, distant landscapes with perspective compression effect, wild nature, travel

Lenses with similar focal length range and speed

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best slow telephoto zooms

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

MF

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Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance from the lens mount to the film or sensor can also be different.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Flange focal distance

The flange focal distance (FFD), sometimes called the "flange back", is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

Modified M42 mount

The mount has been modified by the manufacturer to allow exposure metering at full aperture.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Rotary zoom

The change of focal length is achieved by turning the zoom ring and the manual focusing - by turning the separate focusing ring.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Push/pull zoom

The change of focal length and the manual focusing is achieved by one and the same ring. The change of focal length happens when the photographer moves the ring towards the mount or backwards and the rotation of the ring leads to change of focus.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Zoom lock

The lens features a zoom lock to keep the zoom ring fixed. This function is convenient for carrying a camera with the lens on a strap because it prevents the lens from extending.

Power Zoom

The lens features electronically driven zoom mechanism. It provides smoother, more natural zoom movements than you could accomplish by hand.

The Holy Trinity of lenses

The Holy Trinity of lenses refers to a three-lens set that covers a focal length range from the ultra-wide focal length of 14-16mm all the way long to the telephoto focal length of 200mm. The set typically consists of a 16-35mm ultra-wide angle zoom lens, a 24-70mm standard zoom lens and a 70-200mm telephoto zoom lens and usually represents the best constant-aperture zoom lenses in a manufacturer's lineup. The set is designed to cover almost every genre of photography, be it landscapes, architecture, portraits, weddings, sports, travel or even wildlife (with teleconverter). However, it is also expensive, large and heavy.